BILL EVANS DANCE TEACHERS INTENSIVE JANUARY 2013
NEWSLETTER
elcome e rst issue of e Bi Evans Dance Teachers Innsive newsleer! Wheer you have
aended one summer workshop or several, are a cered acher of e Evans’ Meod of Laban-Based
ance Technique pedagogy, someone coming Wiiam’s chnique for e rst me, or are a iend of Bi
vans Dance, is newsleer is for you. We invi your comments, quesons, and phographs as we
elebra e paways and possibilies revealed by immersion in is work.
est wishes for a glorious 2013!
ynia Wiiams, Geneva, NY, January 2013.
2012 Bi
These six join the ranks of teachers certified in the Bill Evans Method of Teaching Laban-Based Modern Dance
Technique after completing the study, presentation, teaching, and essay requirements established by William
Evans in conjunction with his Dance Teachers’ Intensives.
Joanna Brotman
Dance Educator at the Dalton School, NYC
Modern Technique, Improvisation, Choreography
Fourth Grade, Middle School, High School
What an extraordinary opportunity it has been to spend two weeks every summer living and
breathing dance education, engaged with highly accomplished and committed dance
specialists from around the country, led by the internationally renowned master dancer/dance educator Bill
Evans! Bill’s approach to teaching dance emphasizes body-mind-heart integration as it guides students to
establish a balance between inner connectivity and outer expressivity. His exceptionally thorough technique
offers healthful, regenerative ways of moving in harmony with ourselves and others to build strong
(connected) bodies, prevent injuries, maximize movement potential, express ourselves creatively, and build
community.
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pedagogical philosophy and methodology with time for curricular development, including experimentation,
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personal and professional growth after 30 years as a dance educator. It has enabled me to deepen my
perceptions about movement, my experience of movement, and my ability to communicate effectively about
movement. The knowledge gained in this process has become foundational not only to my curriculum and
teaching methods, but to my own personal approach to movement as well. Rather than replace what I have
been doing, I have been able to layer this learning into the best aspects of my previous curriculum, teaching
style, and movement experience, building upon and enriching what is essential about who I am and what I
teach. The potential for change embodied in The Bill Evans Method, and the possibilities for its application,
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The BETI Newsletter is produced and edited by Cynthia Williams, with design creation by Dot Vogt. 1
The newsletter can be accessed online at www.billevansdance.org.
Copyright © 2013 Cynthia Williams/BETI Newsletter
,BILL EVANS DANCE TEACHERS INTENSIVE JANUARY 2013
Six Join cont.
process of exploring and integrating this work moving doing the outer form. It is only Bartenieff
forward. Can’t imagine teaching without it. Fundamentals if you are investigating the sensation,
tuning in to what you can learn, and if it has intent.'
Selene Carter She is focusing on how to structure somatic
Selene Carter is a Lecturer in Kinesiology at Indiana explorations for her students that include 'something
University Bloomington, and a faculty member of the and its opposite' yielding critical discernment and
+ =<B3;>=@/@G /<13 '@=5@/; )63 B3/163A personal intent. The word that Evans repeated the
Concert Dance History, Improvisation, Modern most was 'allow' and she has begun to observe how
Dance Technique, Choreography, Dance Studies and this is present in the learning and dancing of her
Theory. Some students, and in herself.
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formal training Kathy Diehl
in dance was $G N@AB 1:/AA E7B6 7:: E/A 2C@7<5 B63 AC;;3@ =4
with the Bill '@7=@ B=B67A 1:/AA 6/2 =<:GB@/7<327< 0/::3B
Evans Dance just a few modern classes here or there. I was
Company in the immediately struck by Bill's level of energy and use of
e a r l y 1 9 8 0 ' s language. I did not necessarily understand everything
b e f o r e s h e he was saying and my body certainly was not
b e g a n h i g h cooperating, but I was very intrigued!
school. The
introduction to When I started the MFA
the ballet teaching of Kitty Daniels, Bartenieff p r o g r a m a t S U N Y
Fundamentals and Laban Movement Analysis had a Brockport, I really began
deep impact on her foundation as a young dancer. my training with Bill and
Seeing the Bill Evans Dance Company perform shortly thereafter began
Evans' works such as Legacy, Willow Bay, and dancing in his company. I
Alternating Currents performed by Evans himself, have performed with his
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impact on her understanding of modern dance in has been such an incredible
performance. Returning to the Evans work three gift to me. I discovered
decades later was a homecoming and re-membering of modern dance very late in
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has completely transformed her teaching. "I relate to not really a part of my grand
my students in a completely different way. I facilitate plan. I primarily wanted to go back to graduate school
their learning towards their own goals, which I to become a better teacher. The chance to perform
empower them to identify and explore. The entire again was completely unexpected and continues to
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'Bill' Evans in his teaching, ' Explore something's' take class with Bill and then in 2011, I was offered a
opposite instead of judging, preferring or deleting it' ,7A7B7<5 '@=43AA=@ >=A7B7=< /B -30AB3@ +<7D3@A7BG 7<
and 'It's not Bartenieff Fundamentals if you are only St. Louis. During the semester, I realized quite
IN THIS ISSUE:
Bartenie Fundamentals Uncovered................5 What Would Your TShirt Say?......................12
What’s in My Pocket?........................................9 William Tells....................................................13
Applied Pedagogy..............................................10 News, Workshops, and Calls for Proposals...15
A Bagel Walks Into a Bar..................................12 In the Next Issue.............................................16
2
, BILL EVANS DANCE TEACHERS INTENSIVE JANUARY 2013
Six Join cont.
profoundly how much my pedagogy has been I felt connected to the material given in class and I
7<OC3<132 0G7:: A6/@32 ;G 3F>3@73<13A 7< /:: =4 experienced growth. In addition, I know that I will be
the courses I took with him and even taught some of teaching dance for the rest of my life and it brings me
his repertory. There were times when I felt like Bill so much joy to know that I will not only an effective
was in the studio with me, reminding me that I can B3/163@ 0CB / 1=<N23<B B3/163@ 0G/>>:G7<5B63 A97::A
teach what I know and that each person has his/her /<2 B==:A B6/B :3/@<32 0G 3<B3@7<5 B63 13@B7N1/B7=<
own unique process and journey. This presence was program.
comforting as I adjusted to life in a new city,
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gained a vast amount of knowledge in the Bartenieff
I returned from St. Louis in January 2012 and was Fundamentals and Laban Movement Analysis. Every
able to resume work with Bill. At that point, I decided day I left the workshop with a sense of amazement
that it was very important to me to complete my simply because I not only understood the information
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areas of my work. For two weeks in summer 2012, I program, but I applied what I learned from the
had the chance to immerse myself in a community of technique and dance composition classes to dances I
people who understood and supported this goal. am making today. Because of the knowledge that I
During our graduation ceremony, myself and the have gained, I found that I learned more about
other graduates were surrounded by the symbolic sensing change and allowing change to occur
circle with a spirit of encouragement, pride, and throughout my body. I found that I was able to let go
sincerity that was beautifully uplifting. =4 7<34N173<B >/BB3@<A /<2 4=1CA =< 6=E B= @3>:/13
these with clarity and intent. With all this said,
As the new semester is just around the corner, I because of studying under William Evans and the
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-7::7/; );7B6 =::353A E7B6 1=<N23<13 /<2 teach and dance with more clarity, understanding and
excitement! I love what I do and I am delighted by the passion.
fact that life is change!
Rebecca McArthur Missy Pfohl Smith
Currently teaching at the University of Southern $7AAG '4=6: );7B6 7A 1C@@3<B:G the Director of the
Mississippi in Hattiesburg, MS. '@=5@/; =4 /<13 /<2 $=D3;3<B /B +<7D3@A7BG =4
Rochester and teaches
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school at the State University of New York, College at technique, choreography,
Brockport. I remember taking one of his classes and p e r f o r m a n c e ,
experiencing internal contemporary ballet and
connections that I have vernacular jazz. She also
never experienced or felt f o u n d e d and
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year of studying under n a t i o n a l l y e m e r g i n g
William, I decided to contemporary repertory
participate in the company based in
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simply because I knew it '@3D7=CA:G 0/A32 7< %. 4=@ G3/@A $7AAG
was an honest approach performed predominantly with Randy James Dance
to movement and I -=@9A /<2'/C:$=A:3G/<2@3137D32 63@$
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wanted to experience these new connections on a Sarah Lawrence College. She is thrilled to have
deeper level. While studying the Evans' technique, I landed in the same area as Bill Evans who has opened
felt that this type of movement meant something and a whole new world of study for her. She began taking
that I wasn't just moving because someone told me to. classes and participating in his summer intensives in
The BETI Newsletter is produced and edited by Cynthia Williams, with design creation by Dot Vogt. 3
The newsletter can be accessed online at www.billevansdance.org.
Copyright © 2013 Cynthia Williams/BETI Newsletter
